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Conversation As a Unit of Film Analysis. Databases of L3 Translation and Audiovisual Samples of Multilingualism1

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Conversation As a Unit of Film Analysis. Databases of L3 Translation and Audiovisual Samples of Multilingualism1 Recibido / Received: 24/01/2017 Aceptado / Accepted: 23/10/2017 Para enlazar con este artículo / To link to this article: http://dx.doi.org/10.6035/MonTI.2019.ne4.2 Para citar este artículo / To cite this article: ZABALBEASCOA, Patrick & Montse Corrius. (2019) “Conversation as a unit of film analysis. Databases.” In: Pérez L. de Heredia, María & Irene Higes Andino (eds.) 2019. Multilingüismo y representación de las identidades en textos audiovisuales / Multilingualism and representation of identities in audiovisual texts. MonTI Special Issue 4, pp. 57-85. CONVERSATION AS A UNIT OF FILM ANALYSIS. DATABASES OF L3 TRANSLATION AND AUDIOVISUAL SAMPLES OF MULTILINGUALISM1 Patrick Zabalbeascoa [email protected] Universitat Pompeu Fabra Montse Corrius [email protected] Universitat de Vic-Universitat Central de Catalunya Abstract This chapter argues in favour of analysing audiovisual texts (cinema and TV) by using the concept and unit of “conversation”, theoretically (Bakhtin 1982; Grice 1975; Sidnell 2010) and practically, for the purpose of creating an audiovisual corpus or database. The point is illustrated and defended from the experience of research carried out within the Trafilm project (trafilm.net), whose aim is to create a database of instances of multilingualism in films and samples of how they are rendered in dubbing, subtitling (including SDH) and audio description, mostly (but not exclusively, because it is open to researchers with other interests) from English into Spanish. Conversations are seen as the smallest possible units that contain instances of L3 (any language which is not the main language) with sufficient contextual and pragmatic information, and possibly useful for analysing other audiovisual (AV) features (e.g., representation of identities), too, and not only L3. primera 1. This study was supported by the grant FFI2014-55952-P from the Ministerio de Economía y Competitividad for the TRAFILM project, on the translation of multilingual films in Spain. MonTI Special Issue 4 (2019: 57-85). ISSN 1889-4178 58 Patrick Zabalbeascoa & Montse Corrius Resumen Este capítulo presenta argumentos teóricos (Bakhtin 1982; Grice 1975; Sidnell 2010) y prácticos para defender el concepto de “conversación” como unidad análisis de textos audiovisuales (cine y televisión), y su utilidad para un corpus audiovisual o una base de datos. Este planteamiento es ilustrado y defendido a partir de la experiencia de inves- tigaciones realizadas dentro del proyecto trafilm.net, cuyo objetivo es crear una base de datos de casos de multilingüismo en películas y muestras de cómo se traducen en doblajes, subtítulos (incluida la accesibilidad) y audiodescripciones, mayoritariamente del inglés al español (pero no exclusivamente, dado que está abierto a otros investigado- res). La conversación se concibe como la unidad más pequeña que contiene muestra(s) de L3 (cualquier lengua aparte de la lengua principal) para la que proporciona suficiente información contextual y pragmática. Se espera que sirva también para analizar otros elementos audiovisuales (AV) además de L3 (p.ej. la representación de identidades). Keywords: Conversation. Multilingualism. Audiovisual translation. L3. Unit of analysis. Palabras clave: Conversación. Multilingüismo. Traducción audiovisual. L3. Unidad de análisis. MonTI Special Issue 4 (2019: 57-85). ISSN 1889-4178 Any concrete utterance is a link in the chain of speech communication of a particular sphere. (Bakhtin 1982) 1. The translation of multilingual audiovisual films: an overview There seems to be a growing trend in recent years for producing audiovisual texts (cinema or TV) that are not entirely monolingual, for various reasons. According to Heiss (2004), the number of films requiring the audience to deal with communication in more than one language has increased since the 1980s and we might add that this tendency has grown even more since Heiss made this claim. A wide variety of English-language films display two or more languages to a greater or lesser degree. They constitute instances of the kind of language variation we call “third language” (Corrius 2008), or L3 (Corrius & Zabalbeascoa 2011). For example, A Passage to India (David Lean 1984) includes native Urdu, non-native English, and non-native Urdu. Beauty and the Beast (Gary Trousdale & Kirk Wise 1991) adds instances of French; Lost in Translation (Sofia Coppola 2003), as the title suggests, depicts scenes of translating and interpreting (intratextual translation, Corrius & Zabalbeascoa 2011) between English and Japanese, as language and communication become a theme within the film. French and German can also be heard in Lost in Translation but only once. Certain directors, even with different agendas, use language variation quite frequently in their films, like Quentin Tarantino (e.g., Inglorious Basterds 2009, Django Unchained 2012), who reinforces stereotypes, or Ken Loach (e.g., Bread and Roses 2000, Land and Freedom 2004), who does not. In science fiction, Peter Jackson’s The Lord of the Rings trilogy (2001, 2002, 2003) provides good samples of constructed (as opposed to real) third lan- guages. Apart from the important case of films produced in English, there are productions from countries in virtually every continent, whose main language (L1) is not English. For example, Almodóvar’s L1-Spanish Todo sobre mi madre (1999), with a few words in L3-Catalan (L3), or de Oliveira’s L1-Portuguese Um filme falado (2000) with French, Italian, English and Greek characters all speaking their own L3 language. Needless to say in recent years the topic has raised interest among scholars devoted to audiovisual translation (AVT) and a number of researchers to a MonTI Special Issue 4 (2019: 57-85). ISSN 1889-4178 60 Patrick Zabalbeascoa & Montse Corrius greater or lesser degree, have done research in this field, rising to the challenge. In the context of Heiss’s (2004) claims that in the case of multilingual films both subtitling and dubbing need to be taken into account, it can be said that Corrius & Zabalbeascoa’s (2011) research is aimed at all AVT forms but draws more samples from dubbing, whereas more recent studies, such as Krämer & Eppler (forthcoming 2018) and Iberg (forthcoming 2018) are proposing spe- cific theoretical models for L3 renderings in subtitles, based on case studies of the TV series Breaking Bad (AMC 2008-2013) and Game of Thrones (HBO 2011-2018), respectively. Delabastita and Grutman (2005: 16) described the multilingual text as a text that “is worded in different languages” and in the same year Dwyer (2005: 296) described it as a text “marked by the naturalistic presence of two or more languages at the level of dialogue and narrative”. Wahl (2005: 43) described polyglot films as “anti-illusionist” because they show the diversity of human life and do not hide it behind the mask of a universal lan- guage, and proposed a classification of six subgenres for polyglot films: episode, alliance, globalisation, immigrant, colonial, and existential. Bleichenbacher (2008) studied the presence and purpose of languages other than English in Hollywood movies but not really their foreign versions, whereas O’Sullivan (2011) focused on the role languages play in the construction of film narratives. Corrius & Zabalbeascoa (2011) worked on providing a more systematic under- standing of the nature of L3, as it appears in audiovisual texts, formally rather than functionally, identifying the variables that can affect and characterise L3, such as its comprehensibility or familiarity. More recently, de Higes-Andino (2014) and the TRAMA group based in Castelló studied linguistic diversity in Spanish immigration films (Martínez-Sierra et al. 2010; de Higes-Andino et al. 2013). Meylaerts & Serban (2014) remarked the intradiegetic functions of third languages, such as character portrayal, voice and point of view and its extradiegetic role (used for the sake of authenticity or exoticism). Zhang (2015) carried out a study investigating the role of subtitling in multilingual films in China. Trafilm was started in 2015 as a three-year project funded by the Spanish Government, aimed at advancing in the study of the translation of multilingual audiovisual texts, by validating and refining existing theoret- ical models for AVT and multilingualism. The project set out to describe and analyse a rich collection of data which involved creating a consultable database of audiovisual (AV) instances of L3 along with their dubbed, subtitled (SDH produced specifically for the deaf and hard of hearing and otherwise) or audio described versions, as a relevant research tool for AVT studies, to ultimately reach out to teachers and professional practitioners. MonTI Special Issue 4 (2019: 57-85). ISSN 1889-4178 Conversation as a unit of film analysis. Databases 61 2. In search of an AV unit that can work in practical and theoretical terms In order to carry out the trafilm.net project, it was necessary to find or create a suitable software tool for storing and sorting a large number of multilingual samples taken from 21st-century films so that they could be descriptively analysed. The aim is to discover how the phenomenon of multilingualism is dealt with in AVT, its features and the tendencies that arise from rendering linguistic variation for dubbing, subtitling (including SDH) and audio descrip- tion. Driven by the ambition to collect samples and metadata, it seemed only natural to establish the boundaries for each sample and the location for each piece of information. The challenge was to find a unit of analysis that could work theoretically and respond adequately to the practical needs of building a database. Because the project is about L3 within AVT, the obvious candidates for the database were primarily the clip and the utterance, but both of these soon presented problems that called for rethinking. We propose the term “conversation” as a unit of analysis capable of pro- viding context as well as the exact location of each instance of L3 within a given AV text; audiovisual context (linguistic, diegetic and visual information) helps to draw the meaning of what is shown on the screen.
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